The Clare Spark Blog

January 30, 2015

HBO’s “Night Will Fall”

nightadHBO, with the supervision and assistance of Brits (Helena Bonham-Carter narrated, and the Imperial War Museum played a part), threw a bone to “Zionists” this week by airing a documentary about an unfinished film about the Allied liberation of death camps in Germany and Poland. The news value was ostensibly that the film that Sidney Bernstein had put together to provide “evidence” to dubious Germans was shelved owing to the Cold War. The title “Night Will Fall” refers to the final words: should the world choose barbarism of the type shown throughout the doc, civilization will be kaput, hence “night will fall.” (As if we are already civilized.)

Algemeiner, a Jewish website and newspaper, criticized the television offering by noting that the word “Jew” was omitted, but then went on to say that other victims of Nazi barbarism were neglected, such as gypsies and homosexuals, thus minimizing the power of antisemitism in Nazi Germany, especially after the failure of Operation Barbarossa (according to Saul Friedlander, though this time-line is contested. Algemeiner also neglected to mention the mentally ill or “socially disabled”, emphasized in Michael Burleigh’s and Wolfgang Wipperman’s The Racial State); see http://tinyurl.com/k2bwbph.).

survivors

Actually, there was no doubt that Jewish deaths were the subject of the film, for there were so many scenes of corpses and interviews with Jewish survivors, that I suspected a possibly sadistic motive to the filmmakers. But the all too obvious necrophilia was not the worst flaw in the documentary.

Although it was mentioned that survivors in the British and American zones of conquered Germany were herded together, with many wishing to go to Palestine, there was zero discussion of the Anglo-American Committee of Inquiry (1946) that inspected these camps and the British Mandate too, but disappointing Harry Truman, who wanted 100,000 refugees to be admitted to Palestine, as it was then called. For it was the British Labour Party’s Foreign Secretary, the arguably antisemitic Ernest Bevin, who put the kibosh on that idea, against the recommendations of the Committee! (http://en.wikipedia.org/wiki/Anglo-American_Committee_of_Inquiry). As Wiki tells you, the Brits then turned over the problem of Jewish immigration to Palestine to the United Nations, but it is questionable whether they ever intended to abandon the Mandate (see https://clarespark.com/2014/05/17/miracle-man-ralph-bunche-saves-the-un/), for a Jewish state of the kind achieved in the war of 1948 frustrated their desire for an air base in the Negev that would compensate for the evacuation from Egypt and the imminent loss of India.

Perhaps the reader will dismiss my last paragraph as irrelevant to the project of the film. But it is less arguable that the HBO claim that the Allies were clueless about death camps until 1944, is a blatant cover-up of the historical record. It is true that there were doubters, owing to the existence of German atrocity reports during WW1, but by 1942 at the latest, there was no doubt that the Jews of Europe were being murdered. (See https://clarespark.com/2013/12/07/ben-hecht-v-ben-urwand-the-un-jewish-left-and-assimilated-jews/, also https://clarespark.com/2009/12/13/klara-hitlers-son-and-jewish-blood/.)

Finally, in one sequence, women are shown eagerly looking for new clothes as women are wont to do; this supposedly started the process of “healing.” I found this offensive; survivors notoriously never heal, and their family relations, should they be so lucky to have families, usually suffer accordingly, as any psychologist will tell you.

Orwell complained bitterly about the lies perpetuated by journalists and other authorities after the Spanish Civil War. HBO’s contribution to Holocaust Remembrance Day only confirms the notion that the Holocaust is unrepresentable, at least by liberals and leftists.

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June 21, 2013

Apocalyptic landscapes and the escape artist

Pierre Massine's Apocalypse

Pierre Massine’s Apocalypse

Here is a sampling of prior blogs on the subject of apocalypse as irrationalist insistence on inevitable decadence.

https://clarespark.com/2009/11/17/melencolia-i-and-the-apocalypse-1938/

https://clarespark.com/2009/07/04/unfinished-revolutions-and-contested-notions-of-identity/

https://clarespark.com/2009/11/16/panic-attacks-and-separation-anxiety/

https://clarespark.com/2009/11/19/the-scary-city-lamprecht-becker-lynd/

https://clarespark.com/2011/04/03/progressives-the-luxury-debate-and-decadence/ (read this first)

https://clarespark.com/2012/09/22/materialist-history-and-the-idea-of-progress/

https://clarespark.com/2013/03/22/traditionalists-on-the-culture-front/

https://clarespark.com/2014/06/25/penny-dreadfuls-sinister-significance/

Commentary: All parents are aware that toddlers go through years of fearing “monsters.”  Many sleep problems are associated with such imagos (images instigated by angry parents of either gender, or fighting in front of children, or images gleaned from mass media and some religions).

Counter-Enlightenment publicists mobilize such childhood fears (reinforced in popular culture and political propaganda) to influence public opinion in directions that are statist, even protofascist.  For instance, “progressive” schools introduce such terrifying subjects as the monstrosities of the Holocaust or of slavery before students have the emotional equipment to deal with them as events in the past, or to evaluate the claims that their effects linger in the present. Is it any wonder that teen-agers lap up horror movies featuring vampires and zombies, movies that may trivialize real life horrors or in the knowable past and predictable future? These kids are easy marks for movie and television producers who would have them live in a world populated by monsters–monsters who disappear when the lights go on; these and other propagandists denigrate the science and technology that will enable youngsters to navigate, with realism, all grown-up controversies.

My argument: it is impossible to have rational political debate on controversial subjects such as environmentalism or immigration reform in this infantilized atmosphere. What is increasingly clear to me is that the forces of reaction have the upper hand in popular culture. Have we turned into a nation of escape artists—escaping the responsibilities of citizenship through socially-induced regression? How convenient it is for the morally and politically lazy to pronounce that we are doomed.  Both liberals and conservatives should think through their own views on progress before they inflict their possible pessimism and depression on the young.

Here is an example of how a liberal publication criticizes apocalyptic thinking in order to argue for political action to halt man-made climate change. We need a more comprehensive critique of apocalyptic thinking than The Atlantic  offers us here: http://www.theatlantic.com/politics/archive/2012/04/how-apocalyptic-thinking-prevents-us-from-taking-political-action/255758/.

Oil refinery as The End

Oil refinery as The End

June 15, 2013

Decoding Les Miserables and the superhero

les_miserables_ver11One of the first distinctions taught me by Alexander Saxton, my adviser at UCLA (and confirmed by other scholars) was that a drastic transformation had taken place between the eighteenth and nineteenth centuries in the wake of the American and French Revolutions: that the politics of family and deference to one’s “betters” had given way to “mass politics,” symbolized most famously by the log cabin campaigns of Andrew Jackson and his successors in the Jeffersonian agrarian tradition. Federalists (like Washington and Hamilton) were out and democrats were in, even if they held slaves and adored Sir Walter Scott’s romances.

This point is lost on those who blame mass politics and mass culture (both supposedly appealing to the irrational mob) for all the dictatorships of the 20th century. Among these was George Orwell, whose Nineteen Eighty Four is unintelligible without taking into account the new technology that enabled the successful snooping of Big Brother. Similarly, the Frankfurt School critical theorists blame technology and bureaucratic rationality (i.e., modernity as controlled by irreligious mass culture) for the Holocaust.

Nor without “traditional” fear of the undeferential masses can we understand the turn toward the classic tradition advanced by Robert Maynard Hutchins and his ‘moderate’ colleagues, who, as early as 1939, hoped to reinstate deference to a natural aristocracy to defeat the atheistic reds, as well as the latter’s despised campaigns against racism and antisemitism,  and their glorification of the common man. Today these [red or pink] villains are called “secular progressives”–perhaps a code word for “the Jews.”  (See https://clarespark.com/2010/06/19/committee-for-economic-development-and-its-sociologists/.)

I have spent the last several weeks plowing through Victor Hugo’s Les Misérables (1862), a melodrama so appealing that it was adapted for both stage and film. What I most strongly take away from this monstrosity of a tale/sermon/philosophical treatise/military history is Hugo’s attempt to make himself, the reactionary Romantic, the true superhero of the tome. It is he who kills off his rival in fatherly strength and determination, Jean Valjean at the end, leaving himself, the author, as the major survivor. On display throughout are Hugo’s ostentatious learning, deference to God as the prime mover of human events, the efficacy of a change of heart in redeeming criminals, ingenious plotting, and detailed descriptions of the Paris poor, their furniture, rags, songs, and schemes including early nineteenth century French insurrections/émeutes. The epic novel is a reproach to Prometheus and his Enlightenment offspring, though many of its images are poetic and memorable. [For more on Hugo and the Prometheans see https://clarespark.com/2013/08/13/victor-hugos-93-and-condorcet/.]

"Victor Hugo en mage"

“Victor Hugo en mage”

Hugo, no less than Jean Valjean threading his way through the treacherous Paris sewers with the wounded lawyer Marius on his back, is navigating his way between monarchism and republicanism, taking us back to the Middle Ages when the Catholic Church advanced the higher law that invariably trumped earthly “pettifoggers.”  Amor Vincit Omnia. Ask Robert Maynard Hutchins and the other pseudo-moderate men.

British production

British production

It is so ironic that during last year’s Tony Awards (referring to 2011 productions), members of the Broadway musical adaptation of Hugo’s novel, presented themselves as revolutionaries and republicans singing “One Day More” (http://www.stlyrics.com/lyrics/lesmiserables/onedaymore.htm)  as if the author, without ambivalence,  favored republican principles and the mass politics that enabled them in Europe and America.  Hugo was no Marat, no ami du peuple. Rather, the escape artist (like both Valjean and Thenardier) was torn between his parents whose politics were opposed to one another. Hugo chose absolutism, not the stern Hebraic demand to choose inside a dualistic world.*

But don’t tell that to the post 1960s back-to-nature generation, like Victor Hugo, those stalwart enemies to “jewified” modernity, held to be masked, ambiguous, and unintelligible (with the exception of geniuses like himself). For many, Les Misérables is the Communist Manifesto of social democracy, but with a variation. It appears that God and the State have merged. The State, assuming the status of a deity, is the author of human events. The Good King is back, and the Good King is a superhero. (For a related recent blog see https://clarespark.com/2013/05/30/nostalgia-for-the-middle-ages/.)

*I am indebted to Steve Chocron for this point about Judaism and the necessity constantly to choose the right path when all choices are fraught with ambiguity.

April 26, 2013

The television season goes Dark

The-following-posterI understand that television is not considered to be other than escapist entertainment, and not a business with pretensions to artiness or literariness, but there are many critics who treat its more upscale offerings with the reverence once reserved to Balzac (for instance see the indefatigable Terri Gross in her new interview with Matthew Weiner, creator of MAD MEN: in the part I heard she was insisting that Don Draper has a “death wish”).

As the 2012-2013 season draws to a close, I must say that I can’t remember a time when popular entertainment was as ideological driven or death-obsessed. I admit to not understanding the adolescent craze for vampires or zombies, though I have my suspicions of deranged right-wing Romanticism and/or the adolescent desire to irritate parents. But I do get the populist flavor, laced with morbidity, of the “better” television series, especially those directed to a more upscale, presumably educated audience.

Lest I be misunderstood, I am not nostalgic for the television fare of the 1950s and 1960s, with its frequently inane glorification of the ordinary folksy American family, rural or urban. The material introduced in response to 1960s and 1970s uproars was critical, and though usually anti-American and anti-establishment, was at least well-written, brilliantly acted, and interesting to decode for its (typically populist) politics. Nor do I fail to detect the ideology in the theater popular when I was growing up: at least it was well meaning, brilliantly written, conceived, and performed—and relatively anti-racist.

But what to make of such paranoia-inducing recent offerings as the romantic necrophiliac THE FOLLOWING (internet gossip reports it renewed!), or the ongoing goriness in CRIMINAL MINDS, or the hatred of hedge fund managers profiting off evil drug companies as displayed in the last episode of PERSON OF INTEREST, or amoral rich people as were evident in DECEPTION, now in SCANDAL (the last episode particularly horrifying), MAD MEN, REVENGE, and even the apparently harmless and well-written THE GOOD WIFE, a love triangle that manages to mostly evade the possibly unparalleled corruption of  Democratic Chicago, while “Alicia” wavers between family and sex? (I have been watching reruns of the Dick Wolf generated LAW AND ORDER: CRIMINAL INTENT, and find the same targets, often Jews, who are either the perps, or who as doctors and lawyers are equally loathsome and corrupt. In one episode, “the Jewish mob” is identified as the most “vicious” of all: oh really?). Add to that the swipes at Mossad in the ever-popular NCIS, and you have the picture. Nouveaux riches and the government enforcers (cops, government regulators, other bureaucrats, CIA, etc.) whom the moneybags obviously control in their own depraved interest, are the chief subjects of the most watched television shows. The poster for THE FOLLOWING (illustrated) shows the dual character of those who serve “law and order.” “Order” for whom? is clearly implied as Bacon and Purefoy are halves of one whole, following Poe’s “William Wilson” in its doppelgänger conception, perhaps a major conceit in the imagination of television writers. And don’t be fooled by the poster for THE FOLLOWING. “Joe Collins” (James Purefoy) is clearly the protagonist, and he stepped out of character in the most recent episode to plug Green living. Why not Kevin Bacon, who barely appears in the series, and whose character is an alcoholic to boot?

Are there any shows with family values? So far, BLUE BLOODS takes the prize. Irreproachably Irish Catholic and upright, the patriarchal Reagan family holds together in contrast to the decadent cities it valiantly disciplines. Even THE MENTALIST is terror gothic in spirit, and clearly plays on fears of the French Revolution, while teasing its faithful viewers that “Patrick Jane” is actually serial killer Red John, rather than someone likely to be very high up in the government. It too is paranoia inducing. Shame on you Bruno Heller, who should know better.

And SMASH, the backstage story of a Broadway musical, will not likely be renewed, while its writing and music to these ears are downright embarrassing. What a hollow victory for hip movement culture, with its glorification of the ever-misunderstood and pathetic Marilyn Monroe.  On to off-Broadway, inter-racial understanding, and the offbeat rock musical and heterosexual and homosexual pairing off. On television, racism/miscegenation has disappeared if you sing and dance well enough. Perhaps the same thing can be said for new Broadway shows, either PC or living off the bones of its ancestors.

Meanwhile, few in show business pay attention to education reform, the illicit power of the teachers unions, and their relentless, media-supported attempts to undermine the educations of real black and brown children in urban ghettoes and elsewhere. Try to find a decent public school in NYC or Los Angeles, homes of those who write and produce the mindless (though technically advanced) shows I have listed above.

Now tell me the condition of our urban schools is not racist in the extreme. The better historians lament the world wide indifference as the Holocaust and other horrors proceeded in the 1930s and 1940s, while today the hippest among us wallow in gonzo ressentiment, apocalypse, the undead, blood and gore. Who is indifferent now? Should we blame the audience, who allegedly want this polluted fare?

Is the great American experiment going down? If popular culture is any indication, the answer is “you betcha.” Who needs a Fifth Column or other demonic forces when you have the entertainment industry?

[I have blogged about most of the tv shows mentioned here and others: see https://clarespark.com/2012/03/16/index-to-blogs-on-popular-tv-shows/.]

good wife cast pic chris noth 2 season 2

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